Spatial Pedagogy

To purchase a hard copy of the catalog, please contact us at spatialpedagogy@gmail.com. Research by Elizabeth Cagle, 5th year student at the University of Tennessee's College of Architecture and Design, with Professor Marleen Kay Davis. Both Estabrook Hall and the Art + Architecture building have played a major role in the development of all aspects of the University of Tennessee’s College of Architecture and Design (formerly the School of Architecture). Spatial Pedagogy is an exploration of the history of the College by examining our buildings as the tangible record of our heritage, pedagogically, culturally, and spatially.

Spatial Pedagogy
A History of the University of Tennesseeâ&#x20AC;&#x2122;s
College of Architecture and Design
Elizabeth Cagle
Spring 2013
1
Spatial Pedagogy
A History of the University of Tennesseeâ&#x20AC;&#x2122;s College of Architecture and Design
An independent study by Elizabeth Cagle, B.Arch class of 2013
In coordination with Professor and Former Dean Marleen Kay Davis. Conducted Fall 2011.
Front cover: Unidentified students in an Estabrook Hall studio, 1960s. Image courtesy of Mitch McNabb and Estabrook alumni.
Back cover: Unidentified student at an Art + Architecture Building desk, 1980s. Image courtesy of UT Photo Services.
4
Author’s Note
After three years as an undergraduate in the University of
Tennessee’s College of Architecture and Design (CoAD), I
realized a lack of understanding of our heritage among current
students. Most students, although appreciative of the Art +
Architecture Building (A+A), did not realize the importance of it
and its predecessor, Estabrook Hall, to the history and culture of
our College. Nor could most students identify crucial differences
between our curriculum and that of other schools in the region.
I know I could not. Most students, like their predecessors, came
to UT because it was in-sate. Little did we realize that we were
entering a program rich in social, academic, and spatial heritage.
This catalog and the exhibition that it accompanies are the result
of my curiosity regarding my heritage as a CoAD student. I spent
one semester researching under the supervision of Professor
Marleen Kay Davis, focusing on the contribution of spaces to the
heritage of the College. There is ample opportunity for younger
students to further this research in order to compile a complete
history of the College.
This study could not have been completed without the support
of my advisor, Professor and Former Dean Marleen Kay Davis,
as well as Advisory Committee Members Dr. Steven Dandaneau
and Dr. Avigail Sachs. I would like to offer a huge thank you
to all the alumni and faculty who took time to speak with me,
especially Mr. Doug McCarty. I would also like to thank my yearmates for listening with interest when I discussed the history of
our building, and for helping me conduct “research” late at night.
Last, but not least, I would like to thank my family, Billy, Julie,
and Matthew Cagle, for believing in me and for listening to me
speak architecture-ese, even when you did not understand what
I was saying.
5
Studio in Estabrook Hall.
Image courtesy of UT Photo Services.
6
There are many features that make UT’s College of Architecture
+ Design stand out: world-class faculty, inquisitive, engaged
students, and a well-rounded curriculum, among others. While
each of these factors have had a part in the making of CoAD, some
of the most important contributors have been spaces: Estabrook
Hall and the Art + Architecture Building, homes to CoAD since
its founding as the New School of Architecture in 1965.1 The
spaces within these buildings have played a major role in shaping
the culture, both social and academic, of the College. It is the
academic and social culture of the College that makes CoAD
special. The combination of many factors, mainly including
buildings and curriculum, created and continues to create both
social and academic cultures in the College; the history of this
synthesis is our spatial and pedagogical heritage.
The architecture school at UT has always been confident. In
1965, a young Bill Lacy was hired as Dean by the University
to create a school of architecture. The school was set to begin
accepting students the following year, leaving one full academic
year to hire faculty, find a suitable facility, and create a curriculum.
After hiring the first faculty member, Fred Grieger, Lacy and
Grieger decided they could begin enrolling students that year by
filling the curriculum with classes UT already offered, such as art
classes and various engineering disciplines. This was not so much
a hasty, piecemeal solution as an intentional decision to develop
the architect as generalist. Topics emphasized include art,
engineering (structures and building systems), and architectural
and art history.2 There were no design studios in the first year;
studio was to start in the second year. Elements of the first
curriculum remain today in CoAD’s strong core of courses that
fall alongside studio, such as a three-semester architectural history
and theory sequence, and classes in structural engineering and
environmental control systems. The semester-long Integrations
studio is another descendant of the historical interplay of design
and technology within our curriculum.3
“About the College,” University of Tennessee College of Architecture +
Design, Accessed 3 Feb. 2012, www.arch.utk.edu/College/index.shtml.
1
2
Marleen Kay Davis, personal interview by author, Sept. 16, 2011.
3
Ibid.
7
From left: unidentified student, Professor Fred Grieger, Dean Bill Lacy.
Image courtesy of UT Photo Services.
8
First class.
Image courtesy of Mitch McNabb and Estabrook alumni.
9
There have always been off-campus components involved in
shaping the UT architecture student. Study abroad always found
its way into the curriculum, even long before it was structured
into the standard curriculum in the 1980s.4 Statewide off-campus
design and design-build programs are part of our heritage, as well.
UT Living Light Solar Decathlon house and the experimental
New Norris house are just the most recent beneficiaries of this
heritage. In the past, UTâ&#x20AC;&#x2122;s CoAD had ties with design centers in
Memphis and Chattanooga, as well as Knoxville and Nashville,
and students have participated in design-build projects, including
designing a project for the 1982 Knoxville Worldâ&#x20AC;&#x2122;s Fair.5
4
Ibid.
University of Tennessee School of Architecture, Faculty notebook (including
faculty meeting minutes), 1982-1983.
5
10
UT President Andy Holt at the Sparta, Tennessee urban planning project review.
Image courtesy of UT Photo Services.
11
Construction on experimental housing in Knoxville (Alcoa Highway).
Image courtesy of Mitch McNabb and Estabrook alumni.
12
Despite the emphasis UT has always placed on the architect
as generalist, design has always been of primary importance.
Dean Lacy considered everything as an opportunity for design,
beginning with the furnishing of his office, which was the first
thing students saw upon entering the building. In the 1970s,
students could choose from one of several “tracks,” such as historic
preservation, design, and construction or management. The
tracks were eventually abandoned because they distracted from
design. Today, studio design courses begin in the first semester
of first year, and form the backbone of CoAD curriculum.
Despite a strong curriculum, the history of the architecture
school at UT is, at its essence, wrapped up in its spaces. At its
founding in 1965, the first dean, Bill Lacy (who went on to be the
Executive Director of the Pritzker Prize jury),6 chose Estabrook
Hall, then in use by the College of Engineering, as the home for
the new School of Architecture. The building was shared space
with art studios throughout the School of Architecture’s tenure
there. Estabrook, centered around a sunny atrium, brought
architecture, art, and engineering students together into a unique
multi-disciplinary community.
Bill Lacy, “Power Player: The Many Lives of Bill Lacy,” interview by Robert
Ivey, FAIA, Architectural Record, accessed Oct. 2011, http://archrecord.
construction.com/features/interviews/0801lacy/0801lacy-1.asp.
6
13
Dean Lacyâ&#x20AC;&#x2122;s office, furnished by Herman Miller.
Image courtesy of UT Photo Services.
14
Entry to Estabrook Hall.
Image courtesy of UT Photo Services.
15
Estabrook Hall.
Image courtesy of Mitch McNabb and Estabrook alumni.
16
The culture of the school benefited from the design of Estabrook
from the very beginning. As students in the 1960s were very
concerned with the Vietnam War and the possibility of being
drafted should their grades fall, there was always a tension among
the student body.7 The architecture students were generally less
socially conservative than their engineering counterparts, and
their young faculty encouraged them to be socially and politically
active.8 Students were itching for a cause to get behind. Social
gatherings were encouraged by the light-filled atrium. This is
where the entire school gathered together to see Louis Kahn
lecture, while his work was on display in the floor below. The main
stairs for Estabrook were at either end of the atrium, and chance
encounters occurred there all the time. The idea of “events” and
“happenings” ran rampant among the student body,9 and one
of the outcomes of this was TAAST, The Annual Architecture
Spring Thing, known today, after the addition of Interior Design
and Landscape Architecture degree programs, as the The Annual
All-College Spring Thing
Robert French (alumnus and faculty), personal interview by author, 26 Jan.
2012.
7
8
Gary Everton (1976 alumnus), personal interview by author, 14 Oct. 2011.
9
Marleen Kay Davis, personal interview by author, 16 Sept. 2011.
17
Louis Kahn visiting the Estabrook atrium. Max
Robinson is pictured in the background, 1970s.
Image courtesy of Mitch McNabb and Estabrook
alumni.
18
Students gathered in Estabrook atrium during Louis Kahnâ&#x20AC;&#x2122;s visit.
Image courtesy of Mitch McNabb and Estabrook alumni.
19
Setting for a happening, Estabrook Hall, 1970s.
Image courtesy of Mitch McNabb and Estabrook alumni.
20
Despite studentsâ&#x20AC;&#x2122; social activism, the school has reflected the
overall trend among architects to be a white manâ&#x20AC;&#x2122;s profession.
Although there were a few women in each of the early graduating
classes, it was never more than a handful until much more
recently. The first African-American student was not accepted
until a few years after the founding of the School.10 Even today,
minorities are under-represented in the College. Despite the lag
in the profession to push for diversity, students in the early days
were appreciative of having women around, and bucked against
such discriminatory University policies as a curfew for women
(but not for men) that made late-night work in studio next to
impossible for female students.11
Robert French (alumnus and faculty), personal interview by author, 26 Jan.
2012.
10
11
Ibid.
By the late 1970s, the School of Architecture was overflowing
Estabrook Hall. Tennessee students finally had an in-state
option to pursue architecture and a young and charismatic
faculty had proved to be a huge draw. Students had studio space
in Alumni Gym (now the Alumni Memorial Building), Melrose
Hall, Temple Court, and South Stadium Hall, among other
locations across the campus. Lectures were held in McClung
Museum Auditorium and various engineering buildings. Despite
everything Estabrook had given the School of Architecture, it
was time to move to a bigger space, which, like Estabrook, would
include space for the art department. The program for the new
Art + Architecture Building (A+A) encompassed both the school
of architecture and the entire art department, creating a home for
students of both disciplines.
21
Dean Lacy with the first African-American architecture student to attend UT.
Image courtesy of UT Photo Services.
22
Alumni Gym Studio, 1970s.
Image courtesy of Mitch McNabb and Estabrook alumni.
23
McCarty Bullock Holsaple (now McCarty Holsaple McCarty)
won the statewide competition, with a prestigious jury, including
Bertram Berenson, Gerald McCue, and George Anselvicius,12
to design a new building for the school. Young alumnus Doug
McCarty led the project. His vision was to take the communitybuilding elements of Estabrook Hall, such as the atrium and
monumental stairs, and incorporate them into a new space for
the School of Architecture. He also incorporated some details
directly from Estabrook for memory’s sake, such as the elevenfoot front door with the vertical grab bar and the red color of the
quarry tile on the floor of the atrium.13 The School of Architecture
and the Art Department began classes in this building in 1982.14
One feature he purposely rejected in the design of the A+A was
the separation between faculty and students.15 In Estabrook, some
professors were known to purposely hide from their students for
days. In the A+A, faculty offices are mixed together with studio
spaces on either side of the “street” or atrium. This enhances the
community feel of the A+A, and provides chance encounters as
opportunities for collaboration.
The buildings and curriculum of CoAD have both played an
important role in the culture of the school, and have in turn
affected one another. For example, McCarty designed the A+A
as a teaching tool. The building contains wonderful examples of
various spatial conditions, while the exposed systems provide
instruction in how a building goes together. Today, first-year
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faculty lead each class in diagramming the spatial conditions of
the A+A, while third- and fourth-year students study the way
mechanical systems feed through the building.
The final crucial similarity between Estabrook and the A+A is
the feeling they give students of being at home. Because students
are able to understand their buildings deeply, they are able to
occupy them fully, even to the point of feeling ownership of all
parts of a building. One example of the freedom students feel in
the buildings is their willingness to build or acquire their own
studio furnishings. Another example is the roof of Estabrook, or
“pebble beach,” as it was known to students, where they would
trespass late at night for a breath of fresh air, and sometimes illicit
activities, as well. Current students have been known to trespass
on the roof of the A+A, too, with information on how to access
it passed down from class to class like a family secret. It is the
spatial conditions, purposely created by both designer and users,
such as the atriums, roofs, and studios, balconies, café space, and
workshops, that form a home for UT’s architecture students.
University of Tennessee School of Architecture, Faculty notebook (including
faculty meeting minutes), 1981-1982.
12
13
Doug McCarty, personal interview by author, 25 Oct. 2011.
14
UT School of Architecture, Faculty notebook, 1981-1982.
15
Doug McCarty, personal interview by author, 25 Oct. 2011.
Competition Model.
Image courtesy of Diane Fox.
25
Impromptu collaboration on the central stair of the Art + Architecture Building.
Image courtesy of Diane Fox.
26
The University of Tennesseeâ&#x20AC;&#x2122;s College of Architecture + Design
is unique in its combination of inputs, such as curriculum and
buildings, that affect one another, as well as the academic and
social lives of faculty and students. This synthesis of cultures,
our collective pedagogical heritage, is the key factor of the CoAD
experience. Students and alumni need to remember this heritage,
for it defines both our history and our future as a College.
27
Professor Fred Grieger and a student move a model while Dean Lacy looks on, late 1960s.
Image courtesy of UT Photo Services.
28
Professor Fred Grieger and Dean Bill Lacy look at an
infrastructure model, late 1960s.
Image courtesy of UT Photo Services.
29
Original faculty.
Image courtesy of Mitch McNabb
and Estabrook alumni.
30
First review of the School of Architecture. From left, Dean Bill Lacy and Professor Fred Grieger.
Image courtesy of UT Photo Services.
31
Review in the atrium of Estabrook Hall. Bob French at far left.
Image courtesy of UT Photo Services.
32
Studio in Estabrook Hall.
Image courtesy of Mitch McNabb and Estabrook Alumni.
33
Studio in Estabrook Hall, 1970s.
Image courtesy of Mitch McNabb and Estabrook alumni.
34
Professor Bill Shell.
Image courtesy of Mitch McNabb and Estabrook alumni.
35
Estabrook studio, 1970s.
Image courtesy of Mitch McNabb and Estabrook alumni.
36
First TAAST, 1971.
Image courtesy of Mitch McNabb and Estabrook Alumni.
37
TAAST, 1970s.
Image courtesy of Mitch McNabb and Estabrook alumni.
38
Class picture, 1973.
Image courtesy of Mitch McNabb and Estabrook alumni.
39
References
“About the College.” University of Tennessee College of
Architecture + Design. Accessed Feb. 3, 2012. www.arch.
utk.edu/College/index.shtml.
“Art and Architecture Building, University of Tennessee,
Knoxville, Tennessee; Architects: McCarty Bullock
Holsaple, Inc.” Architectural Record 170, no. 8 (June 1982):
108-13.
Lacy, Bill. “Power Player: The Many Lives of Bill Lacy.” Interview
by Robert Ivey, FAIA. Architectural Recod. Accessed Oct.
2011. http://archrecord.construction. com/features/
interviews/0801lacy/0801lacy-1.asp.
University of Tennessee School of Architecture, Faculty
notebook (including faculty meeting minutes), 1981-1982
and 1982-1983.
40
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